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Painting the ‘Wheel of Transmigration’ (samsara-cakra): A Note on the Textual Transmission

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Marek Mejor (Warsaw)


The term 'wheel of transmigration' (samsara-cakra) or ‘wheel of existence' (cakra)2, refers to the fundamental Buddhist doctrine of dependent origination (pratityasamutpadaf. Simultaneously it is a name of the popular pictorial representation of the Buddhist theory of karman and causality. In form of picture the Buddhists explained the chain of existences to which every sentient being is liable. The pictorial 'wheel of transmigration' was designed to depict the cycle of rebirths in various modes of existence - good ones, of gods and men, and bad ones, of hells, animals and departed spirits - with the ultimate goal in view, i.e. deliverance from the chain of existences. According to the Buddhist tradition, the Buddha himself designed the picture of the wheel of transmigration. It is still of frequent occurence in many Tibetan and Mongolian Buddhist monasteries. Some specimens were found in China (Yulin, Baodingshan) and Central Asia (Kumtura). In India the unique and at the same time the most famous representation is the mural painting from Ajanta (Cave No. 17) from the 5-6th century. Old paintings have been discovered in the monasteries of Ladakh (Tabo, Pad ma'i sdong po). There exists also a Bon po version of the wheel of transmigration. The first European reproduction and description of the wheel of transmigration according to a copy of Tibetan picture from Lha brang monastery in Lhasa is found in the monumental work of Antonio Georgi, Alphabetum Tibetanum (Rome 1762). Subsequently it was reproduced by Paulinus a Sancto Bartholomeo in his Systema Brahmanicum (Rome 1796).


1. The voluminous Vinaya of the Mulasarvastivada school (henceforth abbr. MSV) has been fully preserved only in the Tibetan translation from the beginning of the 9th century (Kanjur, Dulva I-XIII). Some parts in the original Sanskrit have been discovered in Gilgit in 1931 and published in facsimile by N. Dutt. The Chinese translation of the MSV Vinaya by Yijing from 700-712 (Taisho 1442-1451) is incomplete. The MSV monastic rules and prescriptions are replete with different stories. Among these there are found two basic stories which contain special prescriptions on the painting of the ‘wheel of existence' (samsaracakra) and on the decoration of a monastery. These two texts are included into the Kanjur (Bka' 'gyur) division of the Tibetan Buddhist Canon. In the Tanjur (Bstan 'gyur) there are found commentaries on these and other relevant texts which explain the picture. In the present paper, within the limits of alloted space, I shall attempt to survey briefly the main lines of the textual transmission. It goes without saying, however, that the subject requires more comprehensive research, including the comparative study of the existing Vinayas in Chinese translation, as well as other relevant texts.

1.1. The story of Sariputra and Maudgalyayana, two great disciples of the Buddha, and the painting of the fivefold wheel of existence next to the monastery entrance gate is included into the Vinaya-vibhanga. The story of Anathapindada, a rich merchant who asked for Buddha's permission to adorn with paintings the Jetavana monastery is included into the Vinaya-ksudraka. Both stories are set in different settings and have specific doctrinal and didactic connotations. In the first story the prescription originated on the Buddha's own initiative when he noticed how effective was the method of instructing people about the misery of the world as applied by his disciples Sariputra and Maudgalyayana. In the second case it was on the initiative of the rich householder Anathapindada who wished to adorn the monastery with paintings and asked the Buddha for permission to do so; then the Exhalted One gave his instructions. In both stories, it was the Buddha himself who after having given the general command to paint the picture(s), has had to give the detailed prescriptions because the executors - the monks in the former story, and the professional painters in the latter one - did not know how and where to paint the picture(s). Later both basic texts were commented by various commentators. From the perusal of the relevant Indian Buddhist texts preserved in the Tibetan Kanjur and Tanjur we obtain the following scheme of transmission (Table 1). In the left column there are texts which refer to the story of (Sariputra and) Maudgalyayana and the painting of the fivefold ‘wheel of existence', in the right column are placed the texts which refer to the story of Anathapindada and the decorating of the monastery. It should be however observed right here that Gunaprabha's Vinayasutra and the following commentaries contain a compilation of the two stories. Some interesting elements are found in the canonical Buddhist cosmological texts, like Devadutasutra and Lokaprajnapti (see below)


Table 1.

A. Kanjur (Bka' 'gyur) 1. Vinaya-vibhanga ('Dul ba rnam par 'byed pa) 2. Vinaya-ksudraka ('Dul baphran tshegs kyi gzhi)


B. Tanjur (Bstan 'gyur)


1.1. Vimalamitra (Dri med bshes gnyen), Pratimoksa-sutra-tTka vinaya-samuccaya 2.1. Gunaprabha, Vinaya-sutra

1.2. Vinitadeva, Vinaya-vibhanga-pada- vyakhyana; contains quotations from two unknown texts:

a. 'Dul ba bye brag tu bshad pa - *Vinaya- vibhasa (deest in Tibetan),

b. 'Dul ba rnam par bshad pa - *Vinaya- vyakhya(na) (deest in Tibetan). 2.2. Gunaprabha, Vinaya-sutra- vrttyabhidhana-svavyakhyana-nama

2.3. Gunaprabha, Vinaya-sutra-vrtti

2.4. Dharmamitra, Vinaya-sutra-tTka

2.5. Prajnakara, Vinaya-sutra-vyakhyana


A. 1. The Vinaya-vibhanga is a huge explanatory text on the Vinaya-vastu, the basic MSV Vinaya text. In the explanation of the 31st Patayantika rule (ltung byed) is included the story of Sariputra and Maudgalyayana who often visited the five realms of beings (gati) - hells, animals, hungry ghosts, gods, and men - and related their knowledge to the assembly of monks and lay people. The Buddha having noticed that their relations had a beneficial effect on the listeners and attracted many people to the Buddhist faith, intended to keep their method even after demise of his two great disciples. Therefore he commended to Ananda to paint a fivefold ‘wheel of existence' (samsara-cakra) at the monastery vestibule (dvarakosthaka, sgo khang). However, the monks did not know what and how should they paint. Then the Buddha gave them detailed prescriptions so that the painting could be executed properly.


A.1.1. Description of the painting in Vinaya-vibhanga, DK 3, Ja, f. 114b4-115a4. kun dga' bo thams cad du dge slong Sha ri'i bu dang / Maud gal gyi bu chen po gnyis dang / Sha ri'i bu dang / Maud gal gyi bu chen po gnyis lta bu dag mi 'byung bas de'i phyir sgo khang du cha lnga pa'i 'khor lo bri (5) bar rjes su gnad do // bcom ldan 'das kyis sgo khang du cha lnga pa'i 'khor lo bri bar bya'o // zhes bka' stsal nas / dge slong rnams kyis ji ltar bri ba mi shes nas bcom ldan 'das kyis bka' stsal pa / 'gro ba lnga po sems can dmyal ba'i 'gro ba dang / (6) dud 'gro'i 'gro ba dang / yi dags kyi 'gro ba dang / lha'i 'gro ba dang / mi'i 'gro ba bri bar bya'o // dge slong rnams kyis gang du gang bri bar bya mi shes nas bcom ldan 'das kyis bka' stsal pa / mthar sems can dmyal ba dang / dud 'gro dang / (7) yi dags kyi 'gro ba bri bar bya'o // shar gyi lus 'phags dang / nub kyi ba lang spyod dang / byang gi sgra mi snyan dang / 'dzam bu'i gling yang bri bar bya'o // dbus su 'dod chags dang / zhe sdang dang / gti mug dag bri bar bya'o // sangs rgyas kyi (115a1) sku gzugs mya ngan las 'das pa'i dkyil 'khor dkar po bri bar bya'o // rdzus te skyes pa'i sems can zo chun rgyud ma'i tshul gyis 'chi 'pho ba dang skye ba dag kyang bri bar bya'o // khong khong yug tu rten cing 'brel par 'byung ba'i (2) yan lag bcu gnyis lugs su 'byung ba dang lugs las bzlog pa dag bri bar bya zhing thams cad mi rtag pas bzung bar bri bar bya'o // tshigs su bcad pa gnyis po // brtsam par bya zhing dbyung bar bya // sangs rgyas bstan la 'jug par bya // (3) 'dam bu'i khyim la glang chen bzhin // 'chi bdag sde ni gzhom par bya // gang zhig rab tu bag yod par // chos 'dul 'di la spyod 'gyur ba // skye bo'i 'khor ba rab spangs nas // sdug bsngal tha mar byed par 'gyur // zhes bya ba yang bri bar bya'o // bcom ldan 'das kyis sgo khang du cha lnga pa'i 'khor lo bri bar bya'o // zhes bka' stsal nas / dge slong rnams kyis sgo khang du cha lnga pa'i 'khor lo 'drir bcug pa dang /


A. 1.2. The closest Sanskrit parallel is Divyavadana XXI: Sahasodgata (ed. Cowell-Neil p. 300.6-26; ed. Vaidya p. 185.24-186.5); new edition with German translation and annotations in Zin-Schlingloff 2007:19-26 (frame story and description of the painting). The Sanskrit text differs from the Tibetan Vinaya-vibhanga only in few details, i.e. it mentions Maudgalyayana alone, with omission of the name of Sariputra, and it introduces some additional explanatory sentences (text underlined, see Table 2).


A. 1.3. The Sanskrit fragmentary manuscript from Central Asia (Ms Pelliot Skt. rouge 5.1-3), carefully re-edited and studied in Zin-Schlingloff 2007:31-41 (cf. also ibid., ch. 4: “Texte und Bilder in Vergleich”), still poses many problems of its origin and school affiliation. In the opinion of the editors, the prescription may come from another Vinaya, however, with the exclusion of the Sarvastivada-Vinaya (ibid., p. 31 & n. 90), as well as of the Dharmagupta- Vinaya (ibid., p. 32). Also excluded is the assumption that the parallel prescription may be found in another place of the MSV Vinaya. Moreover, it is hardly possible to assume that the text formed part of some sutra or a commentary (ibid., p. 31). Farther comprehensive research of the different Vinayas and other texts preserved in the Chinese translations is a desideratum. Our investigation of the relevant Tibetan materials (which by no means is claiming to be comprehensive and definite) does not allow to solve the problem. From the perusal of the canonical MSV Vinaya texts and from the explanations found in Indian commentaries preserved in Tibetan translation it seems that the Ms. Pelliot may be placed in the line of text transmission close to that of Vinitadeva's commentary and his source, viz. the unknown Vinayavyakhyd(na). Much intriguing are, however, the additional pictorial elements that the Ms. Pelliot abounds in and which go far beyond the standard MSV Vinaya prescriptions (e.g. inclusion of the long list of Indian masters of the past, cf. ibid., p. 39, 151ff.). It may have something in common with the Vinaya-ksudraka prescription of drawing a line of sthaviras and dharma masters in the ‘hall of meeting' (‘hall of ceremonies'). All in all, in my opinion, the text shows traces of rather late development, maybe forming a part of larger compilation.


A.1.4. The Chinese MSV Vinaya-vibhanga was translated by Yijing in 703 A.D.18 The parallel text is Taisho 1442, p. 810c24-811b26 (p. 811a26-b26 - description of the painting); translated in Przyluski 1920:314-319 (p. 316.3-318.28 - description of the painting)19, and recently in Teiser 2006:53-5620. The Chinese version of the MSV Vinaya offers much more detailed description of the ‘wheel of existence' than the Tibetan Vinaya-vibhanga and the Sanskrit Divyavadana2 It contains e.g. technical instructions as to the means of drawing the big and smaller circle, its division into five parts like in a wheel of a cart with five spokes, or adduces detailed prescriptions how to represent the twelve links of the chain of dependent origination (pratltyasamutpada). In all these it comes closer to the description which was given by Vinitadeva (see below).22


Ta ble 2.


Tib. MSV Vinaya-vibhanga, Kanjur Divyavadana XXI: Sahasodgata, 300.8ff.


dge slong Sha ri'i bu dang / Maud gal gyi bu chen po gnyis Maudgalyayano bhiksuh sgo khang du dvarakosthake cha lnga pa'i 'khor lo pancagandakam cakram 'gro ba lnga po - 1. sems can dmyal ba'i 'gro ba 2. dud 'gro'i 'gro ba 3. yi dags kyi 'gro ba 4. lha'i 'gro ba 5. mi'i 'gro ba pancagatayah - 1. narakah 2. tiryancah 3. pretah 4. dev ah 5. manusyah mthar 1. sems can dmyal ba'i 'gro ba 2. dud 'gro'i 'gro ba 3. yi dags kyi 'gro ba adhastat - 1. narakah 2. tiryancah 3. pretah uparistat - 4. dev ah 5. manusyah 1. shar gyi lus 'phags 2. nub kyi ba lang spyod 3. byang gi sgra mi snyan 4. 'dzam bu'i gling catvaro dvipah - 1. Purvavideha 2. Aparagodaniya 3. Uttarakuru 4. Jambudvipa 18 Frauwallner 1956:194-198. On the mediocre value of the Chinese MSV translation by Yijing cf. opinions collected in Eimer 1983: I, .33f.; now cf. also Clarke 2002. 19 Cf. Zin-Schlingloff 2007:27f., 31f. 20 For Teiser (Teiser 2006:53 n. 7) it is the Chinese version of MSV Vinaya that has the first-rate value, taking precedence over Sanskrit and Tibetan sources. 21 Cf. Zin-Schlingloff 2007, ch. 4: “Texte und Bilder im Vergleich”. 22 I am obliged to Dr M. Religa for her help in reading the Chinese texts.

dbus su 1. 'dod chags 2. zhe sdang 3. gti mug madhye - 1. raga - paravatakarena 2. dvesa - bhujamgakarena 3. moha - sukarakarena sangs rgyas kyi sku gzugs mya ngan las 'das pa'i dkyil 'khor dkar po budhapratima(s) caitan (= svetan?) nirvanamandalam upadarsayant(i = i)


rdzus te skyes pa'i sems can zo chun rgyud ma'i tshul gyis 'chi 'pho ba dang skye ba dag aupapadukah sattva ghatiyantraprayogena cyavamana upapadyamanas ca khong khong yug tu rten cing 'brel par 'byung ba'i yan lag bcu gnyis lugs su 'byung ba dang lugs las bzlog pa dag samantakena dvadasahgah pratityasamutpado 'nulomapratilomah thams cad mi rtag pas bzung ba sarvam anityataya grastam su bcad pa gnyis po // brtsam par bya zhing ...etc. gathadvayam ... // arabhadhvam ... etc.


B. 1.2. Vimalamitra (Dri med bshes gnyen) is the author of the Pratimoksa-sutra-tTka vinaya- samuccaya (DT 4106) , a commentary on the Pratimoksa-sutra2. In the section on the 31st Patayantika rule (Phu, fol. 118a6-118b5) he reproduced, slightly extended, the text of the Vinaya-vibhanga (see below, underlined). His only additions are the indications that the gods and men should be painted above the other three classes of beings, which should be placed below; the four continents one should paint on the four inner sides; three miseries or afflictions one should represent in form of pidgeon, serpent, and pig, respectively; the Buddha is to be placed at the top; and the whole wheel is devoured by impermanence in form of a demon (raksasa). Thus Vimalamitra's version is close to that of the Divyavadana.


(118a6) bcom ldan 'das (7) kyis bka' stsal pa / kun dga' bo thams cad du dge slong sha ri'i bu dang Maud gal gyi bu chen po gnyis dang de gnyis lta bu dag mi 'byung bas de'i phyir gtsug lag khang gi sgo khang du cha lnga pa'i 'khor lo bri bar rjes su gnang ste / 'gro ba lnga po sems can dmyal ba'i 'gro ba dang / dud 'gro'i 'gro (118b1) ba dang / yi dags kyi 'gro ba dang / lha'i 'gro ba dang / mi'i 'gro ba dag las ma mthar sems can dmyal ba dang / dud 'gro dang / yi dags kyi 'gro ba bri bar bya'o // gong du lha dang mi'i 'gro ba bri bar bya'o // nang gi phyogs bzhir shar gyi lus phags dang / nub kyi ba lang spyod (2) dang / byang gi sgra mi snyan dang / 'dzam bu'i gling yang bri bar bya'o // dbus su 'dod chags dang / zhe sdang dang / gti mug dag phug ron dang / sbrul dang / phag gi gzugs su bri bar bya'o // gong du sangs rgyas kyi sku gzugs mya ngan las 'das pa'i dkyil 'khor dkar po bri bar (3) bya'o // khor khor yug tu rdzus te skye ba'i sems can zo chun rgyud mo'i tshul gyis 'chi 'pho ba dang skye ba dag kyang bri bar bya'o // rten cing 'brel par 'byung ba'i yan lag bcu gnyis lugs su 'byung ba dang / lugs las bzlog pa dag kyang bri bar bya zhe na / thams cad mi rtag pa srin po'i gzugs (4) kyis bzung ba bri bar bya'o // tshigs su bcad pa gnyis po // brtsam par bya zhing 'byung bar bya // sangs rgyas bstan la 'jug par bya // 'dam bu'i khyim la glang chen bzhin // 'chi bdag sde ni gzhom par bya // gang zhig rab tu bag yod par // chos 'dul 'di la spyod 'gyur (5) ba // skye bo'i 'khor ba rab spangs nas // sdug bsngal tha mar byed par 'gyur // zhes bya ba yang bri bar bya'o //


B.1.3. Vinayavibhangapadavyakhyana (DT 4141) by Vinitadeva (1st half of the 8th century) is a large commentary on the canonical Vinayavibhanga. It is a very important text since it contains valuable explanations. Vinitadeva's description of the ‘wheel of existence' is included into the comment on the 31st Patayantika rule. His explanations are based on the *Vinaya-vyakhya(na). Vinitadeva quoted passages from two unknown texts (canonical commentaries?), viz. from the *Vinaya-vibhasa - 'Dul ba bye brag tu bshad pa (Tshu, f. 21a6, 60b7-61a2), and from the *Vinaya-vyakhya(na) - 'Dul ba rnam par bshadpa (Tshu, f. 149a7, 149b3-6). No such texts can be identified in the Tibetan canon. The latter seems to be an intermediate commentary on the Vinaya-vibhanga, preceding Vinitadeva's own Vyakhyana. Vinitadeva also mentioned Ba si ta'i bu'i mdo (Tshu, f. 55a1), Udra ya na'i rtogs pa brjod pa (Tshu, f. 183b2), and, most interestingly, Bana's KadambarT (Tshu, f. 149b7).


B. 1.3.1. Text of Vinitadeva's Vinaya-vibhanga-pada-vyakhyana, DT 4141, Tshu, f. 149a4-149b7:

cha lnga pa zhes bya ba ni rigs (xyll. rig pa) lnga pa'o // shar gyi lus 'phags (5) zhes bya ba'i gling gi ming ste / 'di nas shar phyogs yin pa'i phyir dang / mi lus 'phags pa dag na gnas pa'i phyir ro // nub kyi ba lang spyod ces bya ba ni 'di nas nub phyogs yin pa'i phyir dang / de na nyo tshong (xyl. tshang) gi tha snyad na ba lang dang spyod pa'i phyir ro // byang gi sgra mi snyan zhes bya ba ni 'di (6) nas byang phyogs yin pa'i phyir dang / mi'i seng ge steng na sgra sgrogs pa dag gnas pa'i phyir ro // 'dzam bu gling zhes bya ba ni 'jig rten mngon par 'grub pa'i tshe na skyes pa'i shing chen po 'dzam bu zhes bya bas mtshon pa'i phyir ro // 'dod chags dang / zhe sdang dang / gti mug dag bri bar (7) bya'o zhes bya ba ni nyon mongs pa'i rtsa ba yin pa'i phyir 'khor ba nyon mongs pa'i dbang du bstan pa'i phyir te / 'dod chags ni phug ron gyi gzugs sam bud med kyi gzugs su bri [/] zhe sdang ni sbrul gyi gzugs su bri / gti mug ni phag gi gzugs su bri'o zhes bya ba 'dul ba rnam par (149b1) bshad pa las gsungs so // sangs rgyas kyi sku gzugs mya ngan las 'das pa'i dkyil 'khor dkar po ston pa bri bar bya'o zhes bya ba'i 'khor ba las nges par 'byung ba'i thabs ston par mdzad pa bstan pa'i phyir ro // rdzus te skye ba'i sems can zhes bya ba ni bar ma do'i srid pa'i (2) sems can no // zo chun khyud mo'i tshul gyis zhes bya ba ni ji ltar chu bcu ba'i 'khrul 'khor gyi zo chun khyud mo'i zo ba gcig 'byung bar byed pa de bzhin du 'gro ba lnga pa'i 'khor lo'i khor khor yug tu rdzus te skyes pa'i sems can 'chi 'pho ba dang skye ba dag kyang bri bar bya ste skyo bskyed (3) pa zhes bya ba'i tha tshig go // rten cing 'brel par 'byung ba'i yan lag bcu gnyis lugs su 'byung ba dang lugs las zlog pa dang bri bar bya'o zhes bya ba ni 'khor bar 'jug pa dang 'khor ba las bzlog pa'i rgyu bstan pa'i phyir te / de la ma rig pa ni bud med nyid ma 'dres par bri bar (4) bya'o // 'du byed rnams ni rdza mkhan snod dag mngon par 'du byed pa'o // rnam par shes pa ni spreu'i gzugs su'o // ming dang gzugs ni bud med dang skyes pa'o // skye mched drug ni skye mched drug po dag yul tha dad pa la chags pa dag go // reg pa ni bud med dang skyes pa lus (5) kyi reg (xyl. gyi rig) pa kun du spyod pa'o // tshor ba ni skyes pa sdug bsngal gyi tshor ba myong bar byed pa'o // sred pa ni bud med bu 'tsho ba'o // len pa ni bud med la mngal gnas pa 'jug pa'o // srid pa ni mngal na gnas pa de nyid 'brang ba'o // skye ba ni 'brangs pa de nyid skye ba'o // rga ba ni skyes (6) pa rgas shing 'khogs pa'o // shi ba ni mi shi ba'i gzugs su bri'o zhes 'dul ba rnam par bshad pa las gsungs so // thams cad ni mi rtag pas gzung bar bri bar bya'o zhes bya ba ni 'khor ba thams cad la byang chub kyi mthar thug pa man chad la 'ga' yang rtag par gnas pa med (7) par bstan pa'i phyir ro // tshigs su bcad pa gnyis bri bar bya ba ni 'khor ba las nges par 'byung ba'i thabs rgyu dang bcas pa bstan pa'i phyir ro // 'jig rten gyi gtam rgyud ces bya ba ni 'jig rten pa'i don dang 'brel pa'i gtam rgyud de ka tam pa'i ri la sogs pa lta bu'o //


B.1.3.2. Translation of the text from Vinitadeva's Vinayavibhangapadavyakhyana.


‘Having five parts', i.e. having five classes (xyll. rig pa; recte: rigs) [of beings]. ‘Purvavideha', i.e. the name of [one of the four] continents. [It is called so] because it is situated east from [the Mount Meru] and among noble people. ‘Aparagodaniya', i.e. because it is situated west from it [= Meru], and there oxes are used in the business of trade. ‘Uttarakuru', i.e. because it is situated north from it, and because there are ‘Men-lions' (narasimha} [= Buddhas] above who are emitting voice. ‘Jambudvipa', i.e. because it is marked with a great tree called jambu, which originated at the time of the accomplishment of the world.


‘Desire ('dod chags, raga), hatred (zhe sdang, dvesa), and bewilderment (gti mug, moha) should be painted', i.e. ‘Because they are the roots of misery (nyon mongs, klesa) [and] in order to explain the power of misery of round of transmigration ('khor ba), desire should be painted in form of pidgeon (phug ron) or woman (bud med), hatred should be painted in form of serpent (sbrul), bewilderment should be painted in form of pig (phag)', it was said in the *Vinaya- vyakhya.


[Farther,] it was said that the Buddha's image (sku gzugs) pointing at the white circle of nirvana (mya ngan las 'das pa) should be painted, i.e. in order to explain the means (thabs) which show the deliverance from the round of transmigration.


‘The beings born spontaneously (upapaduka) ', i.e. beings which originated in the intermediate state (bar ma do, antarabhava) ‘By means of water wheel (zo chun khyud mo)', i.e. like a water wheel machine when drawing buckets of water comes out with one bucket [after another], so the upapaduka beings in a circle of fivefold wheel of destinations ('gro ba, gati) die and are born [again and again], [accordingly] it should be painted; [in other words,] it signifies expansion of sorrow (skyo bskyed).


‘The twelve-membered dependent origination in ascending and descending order should be painted', i.e. in order to explain the cause of entering into the round of transmigration and [the cause of] reverting from the round of transmigration.


‘Here, ignorance should be painted just as a woman, separately (ma 'dres par); the formations [should be depicted in form of] a potter who is forming pot(s); consciousness - in form of a monkey; name and form [in form of] a woman and a man; six bases [in form of] the group of six bases which are attached to variuos sense objects (yul); contact [should be depicted in form of] a woman and a man who commit (are wholly engaged in) touching [their] bodies; feeling/sensation - a man enjoys feeling of affliction (sdug bsngal, duhkha); desire - a woman nourishes [her] baby; attachment - entering into woman's womb; existence (srid pa, bhava) - bearing [the embryo] in the mother's womb; rebirth - giving birth to that born [[[embryo]]]; old age [should be depicted in form of] an old and decrepit man; death should be depicted in form of a dead man' - it was said in the * Vinaya-vyakhya.


‘All [this] should be painted as devoured by impermanence (mi rtag pa)', it was said; i.e. in order to explain the impermanence/perishability (rtag par gnas pa med pa) [which exists] until the attainment [of the ultimate end] (mthar thub pa) of enlightenment (byang chub, bodhi) in all round(s) of transmigration. ‘Two stanzas should be painted', i.e. in order to explain the means of deliverance from the round of transmigration which has a cause (rgyu dang bcas pa).


‘Mundane epics', i.e. legends [recounting] the connections with the true sense of the world, like Kadambari etc. A.2. The MSV Vinaya-ksudraka is a large supplementary text on the Vinaya-vastu. In the Tibetan version the story about decorating the Jetavana monastery33 is included under the heading of the following uddana: sdom ni /ri mo'i mkhar len me dang ni //khrus dang (3) 'gags dang lhung bzed kyi // lhag rol ma yin lhung bzed gzhir // rkang pa mi gzhang lham dag go //.34 Here we are told the story about the wealthy householder Anathapindada who wished to adorn the Jetavana monastery with colour paintings.35 He addressed the Buddha for permission, and when the Blessed One assented to his request, Anathapindada collected paints and called painters. However they did not know what and where they should paint. Therefore Anathapindada went to the Blessed One, related to Him the problem, and the compassionate Buddha gave him the appropriate indications so the painters could make the pictures in different parts of the monastery. Here, twelve different places are mentioned with the appropriate pictures. The wheel of transmigration in five divisions together with the ‘great miracle' should be painted in the vestibule (sgo khang, dvarakosthaka) of the monastery. Interestingly, here we find an explicit reference to the Devadutasutra, a Buddhist cosmological text.


Table 3. Place36

Painting

1. phyi sgo = outside door yaksa holding a club in his hand 2. sgo khang = vestibule the ‘great miracle' (cho 'phrul chen po, mahapratiharya)37 and the ‘wheel of transmigration' in five divisions (samsaracakra pancagandaka) 3. khyams = courtyard garland of rebirths 4. dri gtsang khang gi sgo = door of the ‘Perfume Chamber' yaksa holding a garland in his hand 5. rim gro'i khangpa = hall of ceremonies sthaviras and bhiksus explaining the Dharma 6. bkad sa = kitchen yaksa holding food in his hand 7. mdzod kyi sgo = door of the storehouse yaksa holding an iron hook (lcags kyu, ankusa)38 in his hand

8. chu'i khangpa = water-house nagas wearing various ornaments and holding vases in their hands 9. khrus khang = bathroom scenes taken from the Deva(duta)-sutra3 and the series of hells 9a. bsro khang = steam bath 33 Panglung 1981:180 (with references). Transl. in Lalou 1929:183f. (from Tib. and Chin.); Soper 1950:149 (from Chin.). Cf. Rockhill 1884:48 n. 2; Geshe Sopa 1984:126, 142 n. 4 (incomplete); Teiser 2006:74. 34 Tha, f. 225a2-3. On uddana see Eimer 1983:I, 25ff.; Clarke 2002. 35 The canonical MSV Vinayottara(-grantha) ('Dul ba gzhung dam pa, DK 7; cf. Yuyama 1979: 1.29.T.2.) contains another story of the householder Anathapindada who presented the Buddha with the Jetavana monastery and asked for permission to adorn it with decorations (Pa, f. 184b6- 185a7; beginning with the uddana: mdor na / mgon med zas sbyin gyi ni rgyan // 'dug pa blang bar mi bya'o // snod spyad lag na thogs pa dang // lha ma yang phyi bar bya ba'o //). Here the reference is made only to different parts of a monastery and decoration and renovation of their walls and pillars. 36 Cf. Kieffer-Pulz 2000:325f. (names of different parts of a Buddhist monastery). 37 BHSD subpratiharya; Divy XII: Pratiharya-sutra. Cf. also Lalou 1927:252: Mahapratiharyanirdesa-nama mahayana-sutra (DK 66, PK 760(22)). 38 Chin. version (Taisho 1451, p. 283b6) has bao ‘precious'; cf. Lalou 1929:183 (‘les objets precieux'). 39 Tib. lha'i mdo; the full title *Devadutasutra established after the Chinese version, Tianshijing, Taisho 1451, p. 283b7f. (see Lalou 1929:184 n. 1; Soper 1950:149 n. 12). In the Pali Tipitaka there exist two texts with the title

10. nadpa'i sman khang = infirmary Tathagata tending a sick 11. chab khung sa = privy a horrible cementery 12. gnas khang gi sgo = door of the lodging house a skeleton, bones and a skull


A. 2.1. Tibetan text of the Vinayaksudraka, DK 6, Tha, f. 225b3-6:


bcom ldan 'das kyis bka' stsal pa / khyim bdag gal te de lta na song la re zhig phyi sgor gnod sbyin lag na dbyug thogs 'drir bcug nas / sgo khang du ni cho 'phrul chen po dang 'khor ba'i 'khor lo cha lnga pa / khyams su ni skyes pa'i rabs kyi phreng ba / dri gtsang khang gi sgor ni gnod sbyin lag na phreng ba thogs pa dag / rim gro'i khang par ni dge slong gnas brtan gnas brtan dag chos rnam par gtan la 'bebs par byed pa / bkang sar ni gnod sbyin lag na zas thogs pa dag / mdzod kyi sgor ni gnod sbyin lag na lcags kyu thogs pa dag / chu'i khang (5) par ni klu lag na bum pa thogs pa rgyan sna tshogs kyis brgyan pa dag / khrus khang ngam / bsro khang (xyl. gang) du ni lha'i mdo las 'byung ba 'am / gzhan dmyal ba'i rabs / nad pa'i sman khang du ni de bzhin gshegs pa nad pa'i nad gyog mdzad pa / chab khung sar ni dur khrod shin tu (6) 'jigs su rung ba / gnas khang gi sgor ni rus pa'i keng rus dang / mgo'i thod pa bri'o // btsun pa de ltar 'tshal lo zhes khyim bdag mgon med zas sbyin gyis bcom ldan 'das kyi ltar mnyan nas thams cad de kho na bzhin du 'drir bcug go //


B. 2.1. Vinaya-sutra by Gunaprabha (perhaps middle of the 7th century) is an important treatise based directly on the MSV Vinaya .

Luckily it has been preserved both in the Sanskrit original and in Tibetan translation. Essentially, Gunaprabha's chapter on the painting of monastery (citranam aramasya) is based on the Vinayaksudraka text, yet it is clear that he, in fact, combined two descriptions, viz. that from the Vinaya-vibhanga and that from the Vinaya¬ksudraka. Thus in his treatise he put together the detailed description of the ‘wheel of existence' from the former, and the description of the decoration of Jetavana monastery from the latter. However, Gunaprabha's compilation differs in some details from the main descriptions in the Vinaya-vibhanga and the Vinaya-ksudraka.


There exist two auto-commentaries by Gunaprabha, i.e. the Vinayasutra-vrtti, preserved in full in Tibetan translation (Tanjur), and an extensive Vinaya-sutra-vrttyabhidhana-svavyakhyana-nama, available partly in the original Sanskrit and in full in Tibetan translation. The latter together with additional explanations contained in a large subcommentary by Dharmamitra offers many interesting details. The subcommentary on the last named by Prajnakara brings nothing new except the explanation of the series of god-messengers. (See below for details). In the following table there are put together the Sanskrit and Tibetan terms/names of the different parts of the monastery, viz. gates, halls, buildings, doors etc., and the descriptions of the respective paintings thereon, according to Gunabhadra's Vinayasutra. In the footnotes are provided explanations referring to the Sanskrit and Tibetan terminology. See below for farther explanations from Gunaprabha's auto-commentary Svavyakhyana, with Dharmamitra's subcommentary thereon, together with notes from Prajnakara's gloss.


Table 4.


Place Painting

1. dvara = (entrance) gate sgo yaksas holding vajra etc. in their hands


2. dvara-kosthaka = gate-room, vestibule sgo khang the ‘wheel of transmigration' in five divisions ; above, [the realms of] gods and men;

four continents;

apparitional beings which are ascending (rising) and descending (falling) like the water wheel; in the centre - passion, hatred and delusion in the form of pidgeon, snake and pig, [respectively]; the former two animals are swallowed by delusion in form of a pig;

on the [surrounding] rim twelve-membered ‘dependent origination' ; the whole [[[wheel]]] is devoured by impermanence; on the top, the Buddha who is pointing at the white disk of nirvana; at the bottom, two stanzas beginning with the words ‘undertake'

3. prasada5 = courtyard khyams rebirth-stories 4. gandha-kuli'-dvdru = door of the ‘hall of perfumes' dri gtsang khang gi sgo yaksas holding garlands in their hands 5. upasthana-sala5 = hall of meeting, sermon¬hall dpong sa'i khang pa a row of sthaviras 6. ganjai6-dvara = door of the treasury-store mdzod kyi sgo yaksas holding sprouts in their hands 7. bhojana-mandapa = dining-hall zas kyi khang pa yaksas holding food [and drink] in their hands 8. jentaka^-sala = hot steam bathroom bsro khang gi khang pa [[[yaksas]]] holding sprouts and pitchers in their hands

9. agni-sala5 = 'fire- me khang Tib.: kumbhandas6 (evil spirits) lighting a fire,


hall', kitchen and the kumbhandas'’ daughters doing cleaning etc. and kindling fire; a dispenser of gifts holding a lamp, and messengers of god (devaduta ) 10 panTya-mandapa = water-house chu'i khang pa nagas, decorated with various ornaments, holding pitchers in their hands, and naga daughters dispensing water 11 glana -kalpikaM-sdla = infirmary nad pa'i rung ba'i khang pa Tathagata tending a sick 12 varcah-prasrava-kuti6 = privy for defecation and for urination bshang ba dang gci ba'i skyabs a cemetery (sivapathika)6 or a skull (siraskarotif1

B.2.1.1. Gunaprabha, Vinaya-sutra, DT 4117, Wu, f. 95a5-95b4:


rab tu byung ba'i kun dga' ra ba la ri mo bri ba nyid rung ngo // sgor gnod sbyin lag (6) na rdo rje 'dzin pa dag bri'o // sgo khang du 'khor ba'i 'khor lo'o // cha lnga par bya'o // steng du lha dang mi rnams so // gling bzhi po dag go // rdzus te skye ba'i sems can zo chun brgyud mo bzhin du 'chi 'pho ba dang skye ba dag kyang ngo // dbus su 'dod chags dang zhe (7) sdang dang gti mug dag phug ron dang sbrul dang phag gi rnam par ro // snga ma de gnyis gti mug gis za bar ro // khor khor yug tu rten cing 'brel par 'byung ba'i yan lag bcu gnyis dang / thams cad mi rtag pa nyid kyis gzung bar ro // steng du sangs rgyas mya (95b1) ngan las 'das pa'i dkyil 'khor dkar po nye bar ston pa'o // 'og tu brtsam par bya zhing zhes bya ba'i tshigs su bcad pa gnyis so // de ston par byed pa gzhag par bya'o // de'i khor khor yug tu cho 'phrul chen po dang bdud bcom pa dag go // khyams su skyes (2) pa'i rabs dag go // dri gtsang khang gi sgor gnod sbyin phreng thogs dag go // dpong sa'i khang par gnas brtan gyi gral dag go // mdzod kyi sgor gnod sbyin lag na myu gu thogs pa dag go // zas kyi khang par lag na bza' ba dang / bca' ba thogs pa dag go // bsro khang (3) gi khang par lag na myu gu dang bum pa thogs pa dag go // me khang du grul bum me spar bar byed pa dag dang grul bum gyi bu mo byi dor la sogs pa dang me spar bar byed pa dang / sbyin bdag mar me thogs pa dang lha'i pho nya dag go // chu'i khang par klu lag na bum pa thogs pa rgyan sna (4) tshogs kyis brgyan pa dag dang / klu'i bu mo chu 'drim par byed pa dag go // nad pa'i rung ba'i khang par de bzhin gshegs pa nad pa'i rim gro mdzad pa'o // bshang ba dang gci ba'i skyabs su dur (xyl. bur) khrod dag gam mgo'i thod pa dag go //


B.2.1.2. Gunaprabha, Vinaya-sutra, Sanskrit text, ed. Sankrityayana 1981:114.15-31, with passages improved/restored (text underlined) with the help of the Tibetan versions of Vinayasutra and Vinaya-sutra-vrttyabhidhana-svavyakhyana-nama. The numbering is that of Sankrityayana.


§ 17. sayanasanavastu. 

(2) pascimasayanasanavastu. (10) citranam aramasya / (211) kalpate citritatvam pravrajitaramasya / (212) dvare yaksanam citranam vajradharadihastanam / (213) dvarakosthake samsaracakrasya / (214) gandapancakasya karanam / (215) urdhvam devamanusyanam / (216) catumam dvipanam / (217) aupapadukanam sattvanam ghatiyantravac cyavamananam upapadyamananam ca [/] [madhye] ragadvesamohanam paravatabhujamgasukarakarena / (218) grasyamanayor mohena purvayoh / (219) pratityasamutpadasya samantake dvadasahgasya / (220) sarvasyanityataya grastasya / (221) urdhvam buddhasya suklam nirvanamandalam upadarsayet / (222) gathayor arabhadhvam iti dvayor adhastat / (223) akhyatur asya sthapanam / (224) samantakenasya mahapratiharyamarabhahgayoh / (225) prasade jatakanam / (226) maladharanam yaksanam gandhakutidvare / (227) upasthanasalayam sthavirapahkteh / (228) ganjadvare 'hkurahastanam yaksanam / (229) khadyahastanam bhojanamandape / (230) jentakasalayam ahkurakalasahastanam [/] (231) kumbhandanam cagnim dipayatam agnisalayam [/] mecakadi kurvatam agnim ca jvalayatam kumbhandaputrmam / (232) danapater dipam dharayato devadutasya ca / (233) nanalamkaravibhusitanam kalasahastanam [naganam] nagakanyakanam codakam dharayantinam paniyamandape / (234) glanakalpikasalayam tathagatasya glanam upatisthatah / (235) varcahprasravakutyoh sivapathikayah siraskaroter va // B.2.2. Gunaprabha's Vinaya-sutra-vrttyabhidhana-svavyakhyana-nama, DT 4119, 258a3-258b1, reproduces large parts of his basic treatise (text underlined) with occasional explanatory remarks:


rab tu byung ba'i kun dga' ra ba la ri mo bri ba nyid rung ngo zhes bya ba smos na / gang du ci zhig bri bar bya zhe na / de'i phyir sgor gnod sbyin lag na rdo rje 'dzin pa la sogs pa rnams bri'o // sgo khang du 'khor (4) ba'i 'khor lo'o zhes bya ba yang ri mo bri bar bya'o zhes bya bar sbyar ro // ci 'dra ba zhe na / de'i phyir cha lnga par sbyar zhes bya ba smos te / 'dir cha lnga pa zhes bya ba'i sgras ni 'gro ba lnga po dag bstan to // lha dang mi'i cha dag phyogs gang du bri bar bya zhe na / de'i phyir de'i steng du lha dang mi (5) rnams so zhes bya ba smos te / de nas 'og gi phyogs dag tu sems can dmyal ba dang dud 'gro dang yi dags kyi 'gro ba rnams bri bar zhar la shes par bya'o // 'dir gzhung ni rnam par 'byed pa las / 'di dang por bya ste gzhag par bya'o zhes bya ba'i bar du gsungs pa yin (6) no // gling bzhi po dag go zhes bya ba yang bri bar bya'o // rdzus te skye ba'i sems can zo chun brgyud (xyl. rgyud) mo bzhin du 'chi 'pho ba dang skye ba dag kyang ngo zhes bya ba yang ri mor bri bar bya'o // dbus su 'dod chags dang zhe sdang dang gti mug dag phug ron dang sbrul dang phag gi rnam par ro zhes bya (7) ba ni de dag go rims (xyl. grangs) ji lta ba bzhin du ri mor bri bar bya'o // snga ma de gnyis gti mug gis za bar ro zhes bya ba la / snga ma de gnyis zhes bya ba ni 'dod chags zhe sdang gi rnam pa phug ron dang sbrul gnyis te / gti mug gi rnam pa phag gis za ba 'dra ba bri bar bya'o // khor khor yug tu (258b1) rten cing 'brel par 'byung ba'i yan lag bcu gnyis dang [/] thams cad mi rtag par gzung bar ro // steng du sangs rgyas mya ngan las 'das pa'i dkyil 'khor dkar po nye bar ston pa'o // 'og tu brtsam par bya zhing zhes bya ba'i tshigs su bcad pa gnyis so zhes bya ba ni 'dir bri (2) bar bya zhes thams cad du dgongs pa'o // de ston par byed pa gzhag par bya'o zhes bya ba ni skye bo lhags pa rnams la 'khor ba'i 'khor lo de ston par nus pa'i dge slong gtsug lag khang der gzhag par bya'o // de'i khor khor yug tu cho 'phrul chen po dang bdud bcom (xyl. 'joms) pa dag (3) go zhes bya ba ni de ltar ston byed nus pa zhes bya bar sbyar ro // khyams su skyes pa'i rabs dag go // dri gtsang khang gi sgor gnod sbyin phreng thogs dag go // dpong sa'i khang par gnas brtan gyi gral dag go // mdzod kyi sgor ni gnod sbyin lag na myu (xyl. dbyu) gu thogs pa (4) dag go // zas kyi khang par lag na bca' ba thogs pa dag go // bsro khang gi khang par lag na myu gu dang bum pa thogs pa dag go // me'i khang par grul bum me spar bar byed pa dag dang / grul bum gyi bu mo byi dor la sogs pa byed pa dang / me spar bar byed pa dang / (5) sbyin bdag mar me thogs pa dang lha'i pho nya dag go // chu'i khang par klu lag na bum pa thogs pa rgyan sna tshogs kyis brgyan pa dag dang / klu'i bu mo chu 'drim par byed pa dag go // nad pa'i rung ba'i khang par de bzhin gshegs pa nad pa'i rim gro mdzad pa'o // bshang ba dang gci (6) ba'i skyabs su dur khrod dag gam mgo bo'i thod pa dag go //

B.2.2.1. Explanations from Gunaprabha's Vinaya-sutra-vrttyabhidhana-svavyakhyana-nama: (258a4) ‘in five divisions', i.e. five destinations (gati, 'gro ba);

(258a5) with reference to the place of the picture of gods and human beings Gunaprabha refers to the text (grantha) of the Vibhanga where it was said that ‘it should be established at a first place';

(258a7) ‘swallowed by delusion', i.e. the former two, viz. pidgeon and snake are represented as if swallowed by pig; (258b2) ‘an able monk from the monastery should be appointed to explain the wheel of existence to the visitors'; (258b2-3) ‘in the vicinity of it [= the wheel] [one should paint] the great miracle and conqueror of Mara', i.e. [a monk should be appointed who is] able to explain in such manner (de ltar ston byed nus pa).


B.2.3. Gunaprabha, Vinaya-sutra-vrtti (DT 4122). In the section 'Dul ba of the Tanjur the text of this commentary is placed after Prajnakara's, thus closing the series of commentaries on Gunaprabha's Vinayasutra. It lacks the name(s) of its translator(s) into Tibetan. In its wording it deviates from the main text, i.e. Vinaya-sutra. Therefore, it seems that the text was added late and it may be spurious. The fragment (Lu, f. 331b6-332b7) contains a few elements of some interest, the most interesting being the explanation that the twelve links of pratTtyasamutpada, from avidya to jara-marana, which are to be put down in letters: (f. 332a3-4) ma rig pa nas rga shi'i bar du 'khor ba'i rgyud yi ger bris /.


B.2.4. Dharmamitra, a Vaibhasika monk from Tokharistan, wrote the Vinaya-sutra-tTka (DT 4120), a commentary in two volumes on Gunaprabha's treatise. It is a typical Indian style commentary with long pratikas repeating the text commented upon, yet here and there it brings some precise explanations which I present below (for the lack of space I refrain from giving the Tibetan text of the entire passage: DT 4120, Yu, f. 368a7-370a1):

(368a7) rab tu 'byung ba'i kun dga' ra ba (pravrajita-arama') = rab tu 'byung ba'i gtsug lag khang (pravrajita-vihara') (368b2-3) ‘above' (steng du), i.e. in the upper part of the wheel ('khor lo'i steng gi phyogs su) (368b3) ‘below', i.e. in the lower part of the wheel (de nas 'og gi phyogs su) (368b4) the animals should be painted as if following one after another (go rims bzhin du yin par) (368b6) the twelve-membered dependent origination should be painted at the outer rim of the wheel of existence ('khor ba'i 'khor lo'i phyi rol gyi mtha' khor khor yug tu)


(368b6) ‘devoured by impermanence', i.e. held on the lap by demon of impermanence (mi rtag pa nyid kyi srin pos pang du blangs te) (368b7-369a1) above the wheel of existence which is devoured by demon of impermanence one should paint the image (sku gzugs = pratima) of the Buddha, and near to him a reflection (gzugs brnyan = pratibimba) of the white circle of nirvana; the picture should be made so as if the image of the Buddha was to exhibit/show that white circle

(369a1) beneath the wheel of existence which is devoured by demon of impermanence one should paint two stanzas (369a4-5) ‘in the vicinity of it [= the wheel]' , i.e. on the premises of the vestibule (sgo khang de'i khor khor yug tu) one should portrait the Buddha sitting on the diamond seat (rdo rje'i gdan = vajrasana) conqueror of Mara(s) (bdud 'dul ba = maradamana) perfectly enlightened (mngon par rdzogs par sangs rgyas pa = abhisambuddha) and a chain/series [of magical feats according to] Mahapratiharyanirdesa (cho 'phrul chen po bstan pa'i rgyud ri mor bri bar bya'o) [? chain of explanations of the Great Miracle]


(369a5-6) ‘at the monastery yard one should paint the tales of birth stories' (gtsug lag khang gi khyams su skyes pa'i rabs kyi sde dag) (369a7) ‘a row of sthaviras', e.g. the figures of the communities of arhats, like the great sthavira noble all-knowing Kaundinya and others (gnas brtan chen po 'phags pa kun shes kaundi nya la sogs pa dgra bcom pa'i dge 'dun rnams kyi gzugs) (369a7-369b1) on the door of treasure house one should paint the yaksas holding/carrying precious sprouts (rin po che'i myu gu), grain awns (snye ma), ears of corn (dog pa), and corn ('bru) (369b1) ‘on the dining hall door', i.e. on the kitchen/assembly hall (bkad sa) yaksas carrying food and drink (369b2) yaksas holding pitchers, which are used for a bath (khrus), and sprouts, which are used for a mat or carpet (gding ba) (369b3) ‘fire-house', i.e. a house where the fire is burning (me bud pa'i khang ba); ‘kumbhandas', because they are renown for ruling over a fire

(369b4) there should also be painted one who is a donor/sponsor [of the painting?] with [his] attendants carrying a lamp (der sbyin bdag gang yin pa 'khor dang bcas pa mar me thogs pa) (369b4) ‘fire-house', i.e. because it was said to place down a lamp/light (dpi) on account of darkness (andhakara} (mun nag pa'i phyir mar me gzugs par gsungs pa'i phyir ro) (369b5) ‘god-messengers' (lha'i pho nya), i.e. they are [five Yama's messengers related to] human birth, old age, illness, death, etc. (sems can skye ba dang rga ba dang na ba dang 'chi ba la sogs pa de dag ste), and they are [pictured] in order to awake grief [of human beings] (skye ba bskyed par bya ba'i phyir), and to make [them] inclined to the side of virtue (kusalapaksa^ (dge ba'i phyogs la mngon par bya ba'i phyir) (369b6) ‘nagas', i.e. because they rule over water (chu la dbang ba'i phyir)


(369b6) nad pa'i rung ba'i khang ba (glanakalpikasala) ‘a house suitable for [tending] sick [[[people]]]'= sman khang ‘dispensary, infirmary' (369b7) ‘privy for defecation and for urination', i.e. ‘place for urination' (?) (chab khung sa), there should be painted either a large burial-ground (dur khrod rgyas pa), or a skeleton [consisting of] various bones, like skull etc. (mgo'i thod pa la sogs pa rus pa'i keng rus dam dum). B.2.5. Prajnakara's commentary Vinaya-sutra-vyakhyana (DT 4121) contains a relatively short passage on decoration of a monastery, Ru, f. 256b3-257a4. It must be rather late work since Prajnakara explicitly quotes Dharmamitra: slob dpon dharma mitras bshad pa (Ru, f. 52b6). In a few places he offers some interesting explanations, as e.g. Prajnakara says that the pictures which are to be made in different places of a monastery, e.g. in the vestibule etc., should also be named/explained in words (257a1-2: sgo khang la sogs pa'i gnas so sor ri mo yang ming gis smospa 'di bzhin du bris shig ba'o//). Two stanzas beginning with the word arabhadhvam (brtsam par bya zhing) should be written in letters (369a2: tshigs su bcad pa gnyis yi ger bri bar bya ba'o).


Most interesting, however, is Prajnakara's mention of the five ‘divine/god's lamps (lights)' (lha'i sgron ma) , which obviously refer to the five ‘god-messengers' (lha'i pho nya, devaduta) In the words of Prajnakara, these are the following:


1. ‘light of birth-god', 2. ‘light of old age-god', 3. ‘light of illness-god', 4. ‘light of death-god', 5. ‘light of thief punished and executed-god'.


Prajnakara's list of ‘divine/god's lamps' coincides with the list of five god-messengers in the Pali canonical Devadutasutta (MN III.130): it is said there that the guardians of Niraya Hell brought the evil-doers before the court of the king Yama; when Yama cross-questioned them they were unable to recognize his five messengers who appeared among men in form of birth, old age, illness, a thief sentenced to death by the king, and death, respectively. Prajnakara's reading of the passage is different from that of the Vinayasutra which has: (232) danapater dipam dharayato devadutasya ca/ = sbyin bdagmar me thogspa dang lha'ipho nya dag go //. This forms a part of the description of the scene which should be painted in the ‘fire¬hall' (agnisala): a donor with attendants carrying lamp and the messengers of god.


Bibliography & Abbreviations

AbhK = Abhidharmakosa, ed. P. Pradhan Banerjee, Anukul Chandra, SarvastivadaLiterature. Calcutta 1957. Clarke, Shayne, “The Mulasarvastivada Vinaya: A Brief Reconnaissance Report”, in: Early Buddhism and Abhidharma Thought. In Honor of Doctor Hajime Sakurabe on His Seventy¬seventh Birthday. Heirakuji Shoten, Kyoto 2002:45-63.


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